Academic literature on the topic 'Architecture Sweden Stockholm'

Outside Sweden, Jan Gezelius is perhaps best known for three museums: the little migratory birds museum at Öland, 1961; the ethnographic museum at Stockholm, 1972–78; and the archaeological museum at Eketorp, 1977–82. Here he talks about his houses and his architectural ideals. This paper is a translated and edited version of part of an interview in Jan Gezelius edited by Claes Caldenby and Åsa Walldén and published by Arkitektur Förlag/Arkus in 1989.

ABSTRACTUsing case studies of city halls in Copenhagen, Stockholm and Oslo, this article contributes towards the creation of an iconographic reading of this building type. This article argues that the symbolic aim of the city hall was to express the burgher's pride and values, and to symbolize the local and national history. To understand the multifaceted architecture of a city hall in a capital city, one must also understand the ideas behind nation-building in Denmark, Sweden and Norway. The second part of the article analyses how European, national and local narratives were used in the city halls.

"„Sok szíves üdvözlettel régi barátos...” (“With kind regards, your old friend...”). Coriolan Petranu’s Friendly Connections to the Hungarian Historians. Coriolan Petranu is the founder of modern art history education and scientific research in Transylvania. He had received special education in this field of study that is relatively new in the region. He started his studies in 1911 at the University of Budapest, attending courses in law and art history. During the 1912-1913 academic year he joined the class of Professor Adolph Goldschmiedt (1863-1944) at the Friedrich-Wilhelm University in Berlin. The professor was an illustrious personality from the same generation as art historians Emil Mâle, Wilhelm Vögte, Bernard Berenson, Roger Fry, Aby Warburg, and Heinrich Wölfflin, specialists who had provided a decisive impetus to art historical research during the twentieth century. In the end of 1913, Coriolan Petranu favored Vienna, with its prestigious art historical school attached to the university from the capital of the Austro-Hungarian Empire. There he completed and perfected his education under the supervision of Professor Josef Strzygowski (1862-1941). The latter scholar was highly appreciated for his contributions to the field of universal art history by including the cultures of Asia Minor (Syria, Mesopotamia, Armenia, and Persia), revealing the influence that this area had on proto-Christian art, as well as by researching ancient art in Northern Europe. In March 1920 the young art historian successfully defended his doctoral dissertation entitled Inhaltsproblem und Kunstgeschichte (”Content and art history”). He thus earned his doctor in philosophy title that opened him access to higher education teaching and art history research. His debut was positively marked by his activity as museographer at the Fine Art Museum in Budapest (Szepműveszeti Muzeum) in 1917-1918. Coriolan Petranu has researched Romanian vernacular architecture (creating a topography of wooden churches in Transylvania) and his publications were appreciated, published in the era’s specialized periodicals and volumes or presented during international congresses (such as those held in Stockholm in 1933, Warsaw in 1933, Sofia in 1934, Basel in 1936 and Paris in 1937). The Transylvanian art historian under analysis has exchanged numerous letters with specialists in the field. The valuable lot of correspondence, comprising several thousands of letters that he has received from the United States of America, Great Britain, Spain, France, Switzerland, The Netherlands, Denmark, Sweden, Norway, Finland, Estonia, Latvia, Czechoslovakia, Austria, Hungary, Poland, the USSR, Serbia, Bulgaria, and Egypt represents a true history of the stage and development of art history as a field of study during the Interwar Period. The archive of the Art History Seminary of the University in Cluj preserves one section dedicated to Hungarian letters that he has send to Hungarian specialists, art historians, ethnographers, ethnologists or colleagues passionate about fine art (Prof. Gerevich Tibor, Prof. Takács Zoltán, Dr. Viski Károly, Count Dr. Teleki Domokos). His correspondence with Fritz Valjavec, editor of the “Südostdeutsche Forschungen” periodical printed in München, is also significant and revealing. The letters in question reveal C. Petranu’s significant contribution through his reviews of books published by Hungarian art historians and ethnographers. Beyond the theoretical debates during which Prof. Petranu has criticized the theories formulated by Prof. Gerevich’s school that envisaged the globalization of Hungarian art between the Middle Ages and the Early Modern Period and that also included in this general category the works of German masters and artists with other ethnic backgrounds, he has also displayed a friendly attitude and appreciation for the activity/works of his Hungarian colleagues (Viski Károly and Takács Zoltán). The previously unpublished Romanian-Hungarian and Hungarian-Romanian set of letters discussed here attest to this. Keywords: Transylvania, correspondence, vernacular architecture, reviews, photographs, Gerevich Tibor, Dr. Viski Károly "

This article involves an empirical linguistic study aimed at elucidating the use of metonymy and metaphor in descriptive essays written by a group of intermediate EFL students (further referred to as ‘participants’). 20 participants were recruited at Stockholm University, Sweden and matched with a control group comprised of 20 advanced EFL students at the same university. The participants and their respective controls were given five pictorial stimuli containing famous architectural landmarks in Sweden. The participants and the control group were instructed to write a one paragraph descriptive essay about each pictorial stimulus using either i) an imaginary and creative approach or ii) a non-imaginary and purely descriptive approach. The corpus of the participants’ and controls’ essays was subsequently analysed in the computer program WordSmith (Scott, 1996). Quantitative analysis in WordSmith yielded descriptive statistics involving word frequencies. Then, the corpus was analysed manually for the presence of metonymy and metaphor. Qualitative findings seem to support previous research (MacArthur, 2010; Haghshenas & Hashemian, 2016), which suggests that the use of metonymy tends to be associated with the intermediate level of EFL writing, whilst both metonymy and metaphor are predominantly found in the writing by advanced EFL learners.

<p>The Tessins in Venice</p><p>Foreign royalty and other travelers visiting Venice in the early eighteenth century encountered a flourishing of the arts. This vibrant artistic life could be transposed to new settings, as a number of Venetian painters worked for courts north of the Alps. When the statesman and <em>connoisseur</em> Carl Gustaf Tessin, Swedish Ambassador to Vienna, visited Venice in 1736, it was with the intention of hiring a decorative painter for the new royal palace in Stockholm. His first choice was Giovanni Battista Tiepolo, but his services proved to be too costly for the Swedes. Tessin did, however, buy art works, among them easel paintings by Tiepolo, Giuseppe Nogari and Francesco Zuccarelli. Anton Maria Zanetti helped Tessin survey the artistic landscape of his city and later became his agent. Carl Gustaf Tessin was not the first Tessin in Venice. His father and grandfather had also visited and documented Venetian architecture in drawings and notes. Marble floors in Venetian buildings left such a lasting impression on Nicodemus Tessin the Elder that he incorporated their patterns in his floor designs for Drottningholm Palace. In his travel notes from 1688, Nicodemus Tessin the Younger is critical of Venetian architecture, but writes enthusiastically about the city&rsquo;s theatre and civic life.</p>

For a child, the school is like a separate “state” in which they are fully educated and influenced by a variety of environments, including aesthetic education. The significance of the environment in which the learner lives, matures, and creates has been found to be enormous. In Lithuania, there is a well-established “package” of environmental requirements for general education schools – educating, safe, functional, ergonomic, aesthetic. This article analyzes the relationship between the aesthetic education environment of the school and pupils’ artistic expression. Is it possible to develop the artistic self-expression of pupils in schools when creating an environment for aesthetic education? And is this a problematic question? The purpose of this article is to reveal the link between the aesthetic education environment of schools and pupils’ artistic expression.The following methods were used in the article: (1) an analysis of educational documents and scientific literature and (2) a review and comparative analysis of the realized projects. The educational document analysis method was used to review and analyze Lithuanian educational documents on school education environments. The analysis of educational documents on the educational environment of schools has led to the conclusion that a great deal of attention is paid to the ergonomic, functional, and aesthetic planning of educational spaces. The aim here is to create high standards for school education. The creativity of students, as well as the contribution of artistic self-expression, are identified as important aspects in creating an aesthetic education environment. The link between the creation and development of such an environment, and the involvement of the educational process participants in the creation of such spaces are emphasized. The creation of an aesthetic education environment in schools is more associated with visual and applied art.In applying the method of scientific literature analysis, this study includes a review of research conducted by Lithuanian and foreign authors about various school education environments, the influence of school education(s) on pupils’ learning, the aesthetic relationship of pupils with school education and the aesthetic education of schools; links between environmental and artistic activity are established. This article discusses the peculiarities and possibilities of modernizing the educational spaces of Lithuanian schools.After the analysis of scientific literature on the educational environment, it was concluded that the topics of the school educational environments were relevant to Lithuanian and foreign scientists. The environmental impact of school education was proven on the basis of a multi-faceted study; the concept of an aesthetic education environment has been revealed, its significance for personality development emphasized. The conclusion is that the aesthetic educational environment of a school can influence the formation of the students’ aesthetic attitudes. The active artistic expression of pupils can be provided by educators with certain conditions for their activities, or pupils can develop joint initiatives contributing to the creation of an aesthetic education environment. After discussing the modernization of the educational spaces of Lithuanian schools, an important link was identified between the creation of educational spaces and pupils’ artistic expression.The analysis of educational documents and scientific literature scientifically substantiated the link between the aesthetic environment of a school and pupils’ artistic expression. Examples of certain “dream school” projects in Lithuania and abroad were analyzed using the sample review method. This article contains an overview of the Lithuanian Primary School of the Veršvų Gymnasium in Kaunas (2018) and the Balsių Progymnasium in Vilnius (2011). Chosen for the review of foreign schools were the “Wish School” in Sao Paulo, Brazil (2016), We Grow and Blue School Preschool and Elementary Schools in New York, USA (2018), Lake Wilderness Primary School, Washington, USA (2017), Heart in Ikast International School and Multifunctional Center in Ikaste, Denmark (2018), Vittra Brotorp, Vittra Telefonplan, Vittra Södermalm School in Brotorp, Stockholm, Sodermalm, Sweden (2011–2012).An overview of architectural examples (analogues) implemented by Lithuania has revealed that Lithuanian architects can perfectly design schools that are modern, technologically equipped, ergonomic, etc. In the reviewed examples (analogies), the learning environment is safe and modern; they promote communality, creativity. The corridor system and the “four-walled” classrooms were retained in the design of Lithuanian schools. Pupils are encouraged to create and to participate in the creation of an aesthetic education environment through visual and applied art. Artistic self-expression is promoted by dancing, musical activities, and the like. Communality and a variety of after-school activities are promoted.An overview of architectural examples (analogues) implemented by foreign countries has revealed the latest architectural trends in global school design practice. It is noted that the design of new school buildings has been important for cities, societies, and education for decades. In many cases, the design process of the schools discussed was developed in conjunction with the needs of the community and adapted to the local architectural context. In the examples of foreign countries discussed, the functional zoning of premises was combined with modern design, educational principles, and the latest technologies. School interiors have been designed with a new concept of education and learning in mind. When designing the school spaces, it was emphasized that students are active subjects and space changers. In some of the examples of the discussed schools, the idea of a “class without borders” has been implemented. Non-formal seating, colorful furniture, and bright-colored walls are accentuated. Classrooms are modern and flexible and easily adaptable in accordance with the educational needs of the pupils. A diversity of activities, communication, and an atmosphere of creativity are promoted. Common spaces are easily adaptable and inspiring. Pupils’ artistic self-expression, curiosity, and the aim to “awaken” creativity are encouraged. Functional zoning allows students to work successfully together and independently. Attention is paid to communality and a diverse spectrum of activities.An overview of implemented Lithuanian and foreign architectural examples (analogues) has revealed the connection between the aesthetic environment of a school and the artistic expression of the pupils: 1) Students are encouraged to create and participate in the creation of an aesthetic education environment through visual and applied art; 2) Music, dance, and self-expression are promoted in school spaces; 3) The community is involved in the school design process.By comparing Lithuanian and foreign (analogous) examples, it may be stated that Lithuanian schools are well-planned and meet high standards. The interior spaces could be more colorful and playful. In the cases of foreign (analogous) countries, internal spaces are more characterized by informal seating places, vibrant and colorful furniture and walls. The corridor system is more boldly eschewed, and the concept of “classes without walls” is implemented.

I have decided to launch a campaign against the skyscraper, that hideous, mediocre form of architecture…. Today we only have an empty version of it, only competing in height.— Rem Koolhaas, “Kool Enough for Beijing?”Figure 1: The CCTV Headquarters—A Courtyard in the Air. Cher Coad, 2020.Introduction: An Anomaly within an Anomaly Construction of Beijing’s China Central Television Headquarters (henceforth CCTV Headquarters) began in 2004 and the building was officially completed in 2012. It is a project by the Office for Metropolitan Architecture (OMA) headed by Rem Koolhaas (1944-), who has been called “the coolest, hippest, and most cutting-edge architect on the planet”(“Rem Koolhaas Biography”). The CCTV Headquarters is a distinctive feature of downtown Beijing and is heavily associated in the Western world with 21st-century China. It is often used as the backdrop for reports from the China correspondent for the Australian Broadcasting Corporation (ABC), Bill Birtles. The construction of the CCTV Headquarters, however, was very much an international enterprise. Koolhaas himself is Dutch, and the building was one of the first projects the OMA did outside of America after 9/11. As Koolhaas describes it: we had incredible emphasis on New York for five years, and America for five years, and what we decided to do after September 11 when we realized that, you know, things were going to be different in America: [was] to also orient ourselves eastwards [Koolhaas goes on to describe two projects: the Hermitage Museum, St. Petersburg, Russia and the CCTV Headquarters]. (Rem Koolhaas Interview) Problematically, Koolhaas claims that the building we created for CCTV could never have been conceived by the Chinese and could never have been built by Europeans. It is a hybrid by definition. It was also a partnership, not a foreign imposition…. There was a huge Chinese component from the very beginning. We tried to do a building that conveys that it has emerged from the local situation. (Fraioli 117) Our article reinterprets this reading. We suggest that the OMA’s “incredible emphasis” on America—home of the world’s first skyscraper: the Home Insurance Building built in 1885 in Chicago, Illinois—pivotally spills over into its engagement with China. The emergence of the CCTV Headquarters “from the local situation”, such as it is, is more in spite of Koolhaas’s stated “hybrid” approach than because of it, for what’s missing from his analysis of the CCTV Headquarters’ provenance is the siheyuan or classical Chinese courtyard house. We will argue that the CCTV Headquarters is an anomaly within an anomaly in contemporary Beijing’s urban landscape, to the extent that it turns the typologies of both the (vertical, American) skyscraper and the (horizontal, Chinese) siheyuan on a 90 degree angle. The important point to make here, however, is that these two anomalous elements of the building are not of the same order. While the anomalous re-configuration of the skyscraper typology is clearly part of Koolhaas’s architectural manifesto, it is against his architectural intentionality that the CCTV Headquarters sustains the typology of the siheyuan. This bespeaks the persistent and perhaps functional presence of traditional Chinese architecture and urbanism in the building. Koolhaas’s building contains both starkly evident and more secretive anomalies. Ironically then, there is a certain truth in Koolhaas’s words, beneath the critique we made of it above as an example of American-dominated, homogenising globalisation. And the significance of the CCTV Headquarters’ hybridity as both skyscraper and siheyuan can be elaborated through Daniel M. Abramson’s thesis that a consideration of unbuilt architecture has the potential to re-open architecture to its historical conditions. Roberto Schwarz argues that “forms are the abstract of specific social relationships” (53). Drawing on Schwarz’s work and Abramson’s, we conclude that the historical presence—as secretive anomaly—of the siheyuan in the CCTV Headquarters suggests that the building’s formal debt to the siheyuan (more so than to the American skyscraper) may continue to unsettle the “specific social relationship” of Chinese to Western society (Schwarz 53). The site of this unsettlement, we suggest, is data. The CCTV Headquarters might well be the most data-rich site in all of China—it is, after all, a monumental television station. Suggestively, this wealth of airborne data is literally enclosed within the aerial “courtyard”, with its classical Chinese form, of the CCTV Headquarters. This could hardly be irrelevant in the context of the geo-politics of globalised data. The “form of data”, to coin a phrase, radiates through all the social consequences of data flow and usage, and here the form of data is entwined with a form always already saturated with social consequence. The secretive architectural anomaly of Koolhaas’s building is thus a heterotopic space within the broader Western engagement with China, so much of which relates to flows and captures of data. The Ubiquitous Siheyuan or Classical Chinese Courtyard House According to Ying Liu and Adenrele Awotona, “the courtyard house, a residential compound with buildings surrounding a courtyard on four (or sometimes three) sides, has been representative of housing patterns for over one thousand years in China” (248). Liu and Awotona state that “courtyard house patterns could be found in many parts of China, but the most typical forms are those located in the Old City in Beijing, the capital of China for over eight hundred years” (252). In their reading, the siheyuan is a peculiarly elastic architectural typology, whose influence is present as much in the Forbidden City as in the humble family home (252). Prima facie then, it is not surprising that it has also secreted itself within the architectural form of Koolhaas’s creation. It is important to note, however, that while the “most typical forms” of the siheyuan are indeed still to be found in Beijing, the courtyard house is an increasingly uncommon sight in the Chinese capital. An article in the China Daily from 2004 refers to the “few remaining siheyuan” (“Kool Enough for Beijing?”). That said, all is not lost for the siheyuan. Liu and Awotona discuss how the classical form of the courtyard house has been modified to more effectively house current residents in the older parts of Beijing while protecting “the horizontal planning feature of traditional Beijing” (254). “Basic design principles” (255) of the siheyuan have supported “a transition from the traditional single-household courtyard housing form to a contemporary multi-household courtyard housing form” (254). In this process, approaches of “urban renewal [involving] demolition” and “preservation, renovation and rebuilding” have been taken (255). Donia Zhang extends the work of Liu and Awotona in the elaboration of her thesis that “Chinese-Americans interested in building Chinese-style courtyard houses in America are keen to learn about their architectural heritage” (47). Zhang’s article concludes with an illustration that shows how the siheyuan may be merged with the typical American suburban dwelling (66). The final thing to emphasise about the siheyuan is what Liu and Awotona describe as its “special introverted quality” (249). The form is saturated with social consequence by virtue of its philosophical undergirding. The coincidence of philosophies of Daoism (including feng-shui) and Confucianism in the architecture and spatiality of the classical Chinese courtyard house makes it an exceedingly odd anomaly of passivity and power (250-51). The courtyard itself has a highly charged role in the management of family, social and cultural life, which, we suggest, survives its transposition into novel architectural environments. Figure 2: The CCTV Headquarters—Looking Up at “The Overhang”. Cher Coad, 2020. The CCTV Headquarters: A New Type of Skyscraper? Rem Koolhaas is not the only architect to interrogate the standard skyscraper typology. In his essay from 1999, “The Architecture of the Future”, Norman Foster argues that “the world’s increasing ecological crisis” (278) is in part a function of “unchecked urban sprawl” (279). A new type of skyscraper, he suggests, might at least ameliorate the sprawl of our cities: the Millennium Tower that we have proposed in Tokyo takes a traditional horizontal city quarter—housing, shops, restaurants, cinemas, museums, sporting facilities, green spaces and public transport networks—and turns it on its side to create a super-tall building with a multiplicity of uses … . It would create a virtually self-sufficient, fully self-sustaining community in the sky. (279) Koolhaas follows suit, arguing that “the actual point of the skyscraper—to increase worker density—has been lost. Skyscrapers are now only momentary points of high density spaced so far apart that they don’t actually increase density at all” (“Kool Enough for Beijing?”). Foster’s solution to urban sprawl is to make the horizontal (an urban segment) vertical; Koolhaas’s is to make the vertical horizontal: “we’ve [OMA] come up with two types: a very low-rise series of buildings, or a single, condensed hyperbuilding. What we’re doing with CCTV is a prototype of the hyperbuilding” (“Kool Enough for Beijing?”). Interestingly, the “low-rise” type mentioned here brings to mind the siheyuan—textual evidence, perhaps, that the siheyuan is always already a silent fellow traveller of the CCTV Headquarters project. The CCTV Headquarters is, even at over 200 metres tall itself, an anomaly of horizontalism amidst Beijing’s pervasive skyscraper verticality. As Paul Goldberger reports, “some Beijingers have taken to calling it Big Shorts”, which again evokes horizontality. This is its most obvious anomaly, and a somewhat melancholy reminder of “the horizontal planning feature of traditional Beijing” now mutilated by skyscrapers (Liu and Awotona 254). In the same gesture, however, with which it lays the skyscraper on its side, Koolhaas’s creation raises into the air the shape of the courtyard of a classical Chinese house. To our knowledge, no one has noticed this before, let alone written about it. It is, to be sure, a genuine courtyard shape—not merely an archway or a bridge with unoccupied space between. Pure building entirely surrounds the vertical courtyard shape formed in the air. Most images of the building provide an orientation that maximises the size of its vertical courtyard. To this extent, the (secret) courtyard shape of the building is hidden in plain sight. It is possible, however, to make the courtyard narrow to a mere slit of space, and finally to nothing, by circumnavigating the building. Certain perspectives on the building can even make it look like a more-or-less ordinary skyscraper. But, as a quick google-image search reveals, such views are rare. What seems to make the building special to people is precisely that part of it that is not building. Furthermore, anyone approaching the CCTV Headquarters with the intention of locating a courtyard typology within its form will be disappointed unless they look to its vertical plane. There is no hint of a courtyard at the base of the building. Figure 3: The CCTV Headquarters—View from “The Overhang”. Cher Coad, 2020.Figure 4: The CCTV Headquarters—Looking through the Floor of “The Overhang”. Cher Coad, 2020.Visiting the CCTV Headquarters: A “Special Introverted Quality?” In January 2020, we visited the CCTV Headquarters, ostensibly as audience members for a recording of a science spectacular show. Towards the end of the recording, we were granted a quick tour of the building. It is rare for foreigners to gain access to the sections of the building we visited. Taking the lift about 40 floors up, we arrived at the cantilever level—known informally as “the overhang”. Glass discs in the floor allow one to walk out over nothingness, looking down on ant-like pedestrians. Looking down like this was also to peer into the vacant “courtyard” of the building—into a structure “turned or pushed inward on itself”, which is the anatomical definition of “introverted” (Oxford Languages Dictionary). Workers in the building evinced no great affection for it, and certainly nothing of our wide-eyed wonder. Somebody said, “it’s just a place to work”. One of this article’s authors, Patrick West, seemed to feel the overhang almost imperceptibly vibrating beneath him. (Still, he has also experienced this sensation in conventional skyscrapers.) We were told the rumour that the building has started to tilt over dangerously. Being high in the air, but also high on the air, with nothing but air beneath us, felt edgy—somehow special—our own little world. Koolhaas promotes the CCTV Headquarters as (in paraphrase) “its own city, its own community” (“Kool Enough for Beijing?”). This resonated with us on our visit. Conventional skyscrapers fracture any sense of community through their segregated floor-upon-floor verticality; there is never enough room for a little patch of horizontal urbanism to unroll. Within “the overhang”, the CCTV Headquarters felt unlike a standard skyscraper, as if we were in an urban space magically levitated from the streets below. Sure, we had been told by one of the building’s inhabitants that it was “just a place to work”—but compared to the bleak sterility of most skyscraper work places, it wasn’t that sterile. The phrase Liu and Awotona use of the siheyuan comes to mind here, as we recall our experience; somehow, we had been inside a different type of building, one with its own “special introverted quality” (249). Special, that is, in the sense of containing just so much of horizontal urbanism as allows the building to retain its introverted quality as “its own city” (“Kool Enough for Beijing?”). Figure 5: The CCTV Headquarters—View from “The Overhang”. Cher Coad, 2020.Figure 6: The CCTV Headquarters—Inside “The Overhang”. Cher Coad, 2020. Unbuilt Architecture: The Visionary and the Contingent Within the present that it constitutes, built architecture is surrounded by unbuilt architecture at two interfaces: where the past ends; where the future begins. The soupy mix of urbanism continually spawns myriad architectural possibilities, and any given skyscraper is haunted by all the skyscrapers it might have been. History and the past hang heavily from them. Meanwhile, architectural programme or ambition—such as it is—pulls in the other direction: towards an idealised (if not impossible to practically realise) future. Along these lines, Koolhaas and the OMA are plainly a future-directed, as well as self-aware, architectural unit: at OMA we try to build in the greatest possible tolerance and the least amount of rigidity in terms of embodying one particular moment. We want our buildings to evolve. A building has at least two lives—the one imagined by its maker and the life it lives afterward—and they are never the same. (Fraioli 115) Koolhaas makes the same point even more starkly with regard to the CCTV Headquarters project through his use of the word “prototype”: “what we’re doing with CCTV is a prototype of the hyperbuilding” (“Kool Enough for Beijing?”). At the same time, however, as the presence of the siheyuan within the architecture of the CCTV Headquarters shows, the work of the OMA cannot escape from the superabundance of history, within which, as Roberto Schwarz claims, “forms are the abstract of specific social relationships” (53). Supporting our contentions here, Daniel M. Abramson notes that unbuilt architecture implies two sub-categories … the visionary unbuilt, and the contingent … . Visionary schemes invite a forward glance, down one true, vanguard path to a reformed society and discipline. The contingent unbuilts, conversely, invite a backward glance, along multiple routes history might have gone, each with its own likelihood and validity; no privileged truths. (Abramson)Introducing Abramson’s theory to the example of the CCTV Headquarters, the “visionary unbuilt” lines up with Koolhaas’ thesis that the building is a future-directed “prototype”. while the clearest candidate for the “contingent unbuilt”, we suggest, is the siheyuan. Why? Firstly, the siheyuan is hidden in plain sight, within the framing architecture of the CCTV Headquarters; secondly, it is ubiquitous in Beijing urbanism—little wonder then that it turns up, unannounced, in this Beijing building; thirdly, and related to the second point, the two buildings share a “special introverted quality” (Liu and Awotona 249). “The contingent”, in this case, is the anomaly nestled within the much more blatant “visionary” (or futuristic) anomaly—the hyperbuilding to come—of the Beijing-embedded CCTV Headquarters. Koolhaas’s building’s most fascinating anomaly relates, not to any forecast of the future, but to the subtle persistence of the past—its muted quotation of the ancient siheyuan form. Our article is, in part, a response to Abramson’s invitation to “pursue … the consequences of the unbuilt … [and thus] to open architectural history more fully to history”. We have supplemented Abramson’s idea with Schwarz’s suggestion that “forms are the abstract of specific social relationships” (53). The anomaly of the siheyuan—alongside that of the hyperbuilding—within the CCTV headquarters, opens the building up (paraphrasing Abramson) to a fuller analysis of its historical positioning within Western and Eastern flows of globalisation (or better, as we are about to suggest, of glocalisation). In parallel, its form (paraphrasing Schwarz) abstracts and re-presents this history’s specific social relationships. Figure 7: The CCTV Headquarters—A Courtyard of Data. Cher Coad, 2020.Conclusion: A Courtyard of Data and Tensions of Glocalisation Koolhaas proposes that the CCTV Headquarters was “a partnership, not a foreign imposition” and that the building “emerged from the local situation” (Fraioli 117). To us, this smacks of Pollyanna globalisation. The CCTV Headquarters is, we suggest, more accurately read as an imposition of the American skyscraper typology, albeit in anomalous form. (One might even argue that the building’s horizontal deviation from the vertical norm reinforces that norm.) Still, amidst a thicket of conventionally vertical skyscrapers, the building’s horizontalism does have the anomalous effect of recalling “the horizontal planning feature of traditional Beijing” (Liu and Awotona 254). Buried within its horizontalism, however, lies a more secretive anomaly in the form of a vertical siheyuan. This anomaly, we contend, motivates a terminological shift from “globalisation” to “glocalisation”, for the latter term better captures the notion of a lack of reconciliation between the “global” and the “local” in the building. Koolhaas’s visionary architectural programme explicitly advances anomaly. The CCTV Headquarters radically reworks the skyscraper typology as the prototype of a hyperbuilding defined by horizontalism. Certainly, such horizontalism recalls the horizontal plane of pre-skyscraper Beijing and, if faintly, that plane’s ubiquitous feature: the classical courtyard house. Simultaneously, however, the siheyuan has a direct if secretive presence within the morphology of the CCTV Headquarters, even as any suggestion of a vertical courtyard is strikingly absent from Koolhaas’s vanguard manifesto. To this extent, the hyperbuilding fits within Abramson’s category of “the visionary unbuilt”, while the siheyuan aligns with Abramson’s “contingent unbuilt” descriptor. The latter is the “might have been” that, largely under the pressure of its ubiquity as Beijing vernacular architecture, “very nearly is”. Drawing on Schwarz’s idea that “forms are the abstract of specific social relationships”, we propose that the siheyuan, as anomalous form of the CCTV Headquarters, is a heterotopic space within the hybrid global harmony (to paraphrase Koolhaas) purportedly represented by the building (53). In this space thus formed collides the built-up historical and philosophical social intensity of the classical Chinese courtyard house and the intensities of data flows and captures that help constitute the predominantly capitalist and neo-liberalist “social relationship” of China and the Western world—the world of the skyscraper (Schwarz). Within the siheyuan of the CCTV Headquarters, globalised data is literally enveloped by Daoism and Confucianism; it is saturated with the social consequence of local place. The term “glocalisation” is, we suggest, to be preferred here to “globalisation”, because of how it better reflects such vernacular interruptions to the hegemony of globalised space. Forms delineate social relationships, and data, which both forms and is formed by social relationships, may be formed by architecture as much as anything else within social space. Attention to the unbuilt architectural forms (vanguard and contingent) contained within the CCTV Headquarters reveals layers of anomaly that might, ultimately, point to another form of architecture entirely, in which glocal tensions are not only recognised, but resolved. Here, Abramson’s historical project intersects, in the final analysis, with a worldwide politics. Figure 8: The CCTV Headquarters—A Sound Stage in Action. Cher Coad, 2020. References Abramson, Daniel M. “Stakes of the Unbuilt.” Aggregate Architectural History Collaborative. 20 July 2020. <http://we-aggregate.org/piece/stakes-of-the-unbuilt>.Foster, N. “The Architecture of the Future.” The Architecture Reader: Essential Writings from Vitruvius to the Present. Ed. A. Krista Sykes. New York: George Braziller, 2007: 276-79. Fraioli, Paul. “The Invention and Reinvention of the City: An Interview with Rem Koolhaas.” Journal of International Affairs 65.2 (Spring/Summer 2012): 113-19. Goldberger, Paul. “Forbidden Cities: Beijing’s Great New Architecture Is a Mixed Blessing for the City.” The New Yorker—The Sky Line. 23 June 2008. <https://www.newyorker.com/magazine/2008/06/30/forbidden-cities>.“Kool Enough for Beijing?” China Daily. 2 March 2004. <https://www.chinadaily.com.cn/english/doc/2004-03/02/content_310800.htm>. Liu, Ying, and Adenrele Awotona. “The Traditional Courtyard House in China: Its Formation and Transition.” Evolving Environmental Ideals—Changing Way of Life, Values and Design Practices: IAPS 14 Conference Proceedings. IAPS. Stockholm, Sweden: Royal Institute of Technology, 1996: 248-60. <https://iaps.architexturez.net/system/files/pdf/1202bm1029.content.pdf>.Oxford Languages Dictionary. “Rem Koolhaas Biography.” Encyclopedia of World Biography. 20 July 2020. <https://www.notablebiographies.com/news/Ge-La/Koolhaas-Rem.html>. “Rem Koolhaas Interview.” Manufacturing Intellect. Canadian Broadcasting Corporation. 2003. <https://www.youtube.com/watch?v=oW187PwSjY0>.Schwarz, Roberto. Misplaced Ideas: Essays on Brazilian Culture. New York: Verso, 1992. Zhang, Donia. “Classical Courtyard Houses of Beijing: Architecture as Cultural Artifact.” Space and Communication 1.1 (Dec. 2015): 47-68.

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Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture; and, (M.C.P.)--Massachusetts Institute of Technology. Dept. of Urban Studies and Planning, 2002.
Includes bibliographical references (p. 157-161).
Inside its cocoon, a caterpillar changes slowly, transforming from one state of being to another over time, but always maintaining its fundamental essence and its origins. Similarly, a move from one place to another- whether by force or by choice, whether between nation-states or between cities-is a process of metamorphosis that happens individually for people with distinct and continuous identities. When they migrate, newcomers must learn the rules, both spoken and unspoken, that define and delineate the unfamiliar society; for refugees, any period of assimilation is also likely to include the need for recovery from involuntary losses and psychological traumas that may have been both the motivation for leaving and part of the journey. This is a process that takes emotion, energy, and, of course, time. This thesis understands this moment in the life of a migrant as one of extreme tension, and the cocoon's analogue- the physical space in which the transformation takes place- as the vessel in which it occurs. Through an examination of the government-distributed, transitional housing (genomgångsbostäder) for refugees living in Stockholm, Sweden, the thesis will clarify the psychological and social roles of this housing in the process of integration and illustrate the importance of its physical form to its successes and failures. The proposed strategy engages these questions and offers an alternative approach to their solution. The centerpoint of the proposal is the kitchen, where food, a vehicle for reproducing cultural memories, is prepared and initial social contacts are made. The project also seeks to activate its users- from the initial moment of moving in to the memories left behind when moving out-empowering them instead of creating dependencies. Finally, it attempts to establish ties between residents and outsiders by creating points of both concentrated and random interaction in semi-public and public spaces. As a transitional space, a rite of passage, and a place where regrounding can occur, the housing provides a temporary shelter and point of recovery from the vertigo of forced migration.
Jennifer Shannon Mack.
M.C.P.
M.Arch.

Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 1998.
Portfolio drawings in pocket on p. [3] of cover.
Includes bibliographical references (p. 102-114).
This thesis examines the Woodland Cemetery in Stockholm, Sweden, designed and executed between 1914 and 1940 by the architects Erik Gunnar Asplund and Sigurd Lewerentz. The study consists of three parts. The first examines the significance of interment, of the return of the body to the realm of nature upon death. The second speculates upon the operation of time in relation to the idea of memory, focussing on the necessity of forgetting in the process of mourning, and in the process of architectural invention. It brings to the fore the impossibility of forgetting that which is most deeply known, and thus suggests a paradoxical relationship between that which is known and that which is new. This paradox informs those things that must be constructed in the mind and in the world in order to continue beyond a point of traumatic change. The final part is a reconstruction through drawing of eight stages in the evolution of the project. It focuses primarily on the large scale planning of the site, but is related to more detailed elements of the design in order to show the continuity of themes throughout the project, bot in its temporal and physical aspects. Although it comes at the end of the text, it is conceptually prior to the other two sections, which were developed upon the basis of the close reading of the existing drawings, and the interplay between continuity and change in the project. The conclusion seeks to bring some of these ideas together in a form that is not closed, which requires continuation.
Kevin Fellingham.
S.M.

Platsen för tomten är i Mälaräng, mellan Bredäng och Mälarhöjden. Bredäng och Mälarhöjden är områden som har stora skillnader när det gäller bl.a. befolkningstäthet och medianinkomst.   En av projektets huvudtankar är att skolan ska kopplas närmare staden och staden närmare skolan. Detta genom att sätta skolan i ett sammanhang både i staden och i närområdet. Skolan öppnar upp sig mot tre riktningar med entréer. En som riktar sig mot Bredäng, (samt närliggande Slättens gård, skogsområde och park). Den andra riktar sig mot Mälarhöjden (Samt närliggande rekreationsslinga). Den tredje riktar sig mot Västertorp. (Slättgårdsvägen samt närliggande bostadskvarteret Gulddragaren). Detta ska bidra till en sammankoppling av områdena och en mötesplats för att gynna social hållbarhet i området.   Skolgården har varit en viktig del i projektet. Skolan har en lugn skolgård, en för lek och idrott och en mer representativ gård. Den lugna gården är i den norra delen av tomten, mot denna gård är alla klassrum och arbetsrum riktade för att utnyttja norrljuset och ge en fokuserad miljö med en lugn utsikt. Gården för lek och idrott består av en kulle, samt en idrottshall som skolbyggnaden omfamnar. Omfamningen av kullen skapar en intressant och lekfull rumslighet samtidigt som det underlättar för markbearbetningen då stora höjdskillnader minimeras och schaktarbete kan besparas. Vidare kopplar gården till del av berget, slättens gård och den allmänna parken. På sikt är tanken att Slättens gård skulle kunna bli en del av skolan med en verksamhet som t.ex. 4H-gård för skolan och allmänheten. Detta skulle även skapa en tydligare koppling mellan skolan och parken. Den representativa gården ansluter till Slättgårdsvägen och kopplar sig på allén längst vägen. Dessutom talar byggnaden till bostadsområdet Gulddragaren då entrén för denna gård är placerad så den hamnar mittemot bostadskvarterets entré. Denna representativa gård är stenbelagd och har anslutning till busshållplatsen och blir en plats för mer offentliga möten. En del av denna gård används som leveransyta. Byggnadens del som ansluter till leveransytan består av funktioner som kräver tunga eller frekventa leveranser så som kök och slöjd.   I korthet är byggnadens södra del 1-2 våningar och består av kök, matsal (dubbel takhöjd) och slöjd. Byggnadens östra del är 3 våningar och består av hemvister. Åk 1-2 på entréplan, åk 3-4 på våning 1 och åk 5-6 på våning 2.   Byggnadens västra del är 2-3 våningar och har förskolan på entréplanet, personal och administration på våning 1 (personalrum har dubbel takhöjd) och plats för installationer på våning 3.   Byggnadens mittendel är allyta, ”vinterträdgård” och trapphus. Som är ett mellanting mellan utomhus- och inomhusmiljö. Alla mer offentliga och ”kreativa” rum har en koppling ut mot mittendelen, vilket möjliggör att man kan gå ut oh jobba från slöjdsalen eller flyta ut till mittenrummet från matsalen. Musiksalen är belägen mittemot matsalen och när dessa flyttas ut bildas det en situation då de som sitter och äter kan se på de som uppträder och spelar musik. Runt kl 13 skiner även solen på de som spelar. Rummet och dess kopplingar ger en större möjlighet till användning av allmänhet, även kvällstid (gäller även idrottssal). Rummet som kan ses som ”kreativt och poetiskt” har en spänning mellan sig och idrottssalen som är mer ”fysisk och kroppsligt”.     Rörelsen från staden och till hemvisten innefattar en rörelse som växlar mellan konkav och konvex samt mellan utblickar och siktlinjer mot grönska utomhus och natur och grönska i byggnaden. För utformningen har tanken om att successivt gå från en mer offentlig och extrovert plats till en mer fokuserad och introvert plats. Hemvistens första del innefattar bl.a. kapprum och allrum och kan fungera bra för grupparbeten och mer sociala aktiviteter. Där möts två årskurser. I mittendelen kan man sitta i lite mindre grupper och ha andra typer av samtal och arbete. I tredje delen finns grupprum och klassrum med fönster ut mot den lugna gården. Här kan fokuserat arbete utföras och man möts klassvis eller i mindre grupper. I hemvisten finns även ett extra tillagt vilrum för 2-3 personer (tillagt efter samtal med personer med bl.a. epilepsi, ADHD och social fobi). Detta tillägg ger plats för återhämtning och lugn i en skolmiljö som idag ofta är mycket extrovert utformade. Vilrummet är i nära anslutning till personalens arbetsrum. Grupprummen är placerade mellan klassrummen för en optimera möjlighet till användning. När grupprummen inte används kan skjutdörrar öppnas och rummet blir då en del av allrummet samt skapar ett ljusinsläpp som går genom hela hemvisten.   De tre entréerna skapar siktlinjer genom mittenrummen då utomhusmiljön runt byggnaden blir synlig. Mittenrummets radie och fasadens radie skapar tillsammans en mellanrumsyta i olika storlekar. En ”inverterad” tunn del av byggnaden som får en mycket speciell rumslighet med utomhusmiljö på ena sidan och mittenrummets miljö på andra sidan. Dessa utrymmen är vindfång på entréplanet och bibliotek och bildsal på våning 1 och 2. Den mindre av denna rumstyp (ovanför representativa entrén) är läsyta till biblioteket och utställningsyta till bildsalen. Här kan t.ex. teckningar mm visas upp för staden.   Taket har en ”lätt” karaktär och vilar på byggnaden. Fästpunkten är förskjuten en bit från takets kant och ger en känsla av att taket fortsätter bortom byggnaden. Och håltakningen i taket får en starkare karraktär. (liknande Lewerents fönster som ”klistrats” på utsidan av öppningen)   Konstruktivt har byggnadens västra och östra del två linjer som är bärande och den södra delen en linje i mitten som är bärande. Takets tyngd leds till de punkter där två bärande väggar möts.
The location is Mälaräng, Stockholm, Sweden. It is located between Bredäng and Mälarhöjden, areas with significant differences in population density and median income.   One of the main ideas is to make the school and the city work in “symbiosis”. This is done by putting the school in a context both in the city and the more local area. The school opens up towards three directions with three entrances. One aims towards Bredäng, (and the nearby “Slättens gård” as well as the forest and the public park). The other aims towards Mälarhöjden (and the nearby recreation trail). The third aims towards Västertorp, (and Slättgårdsvägen and the nearby residential area “Gulddragaren”). This will contribute to the interconnection of the three different areas and the school will work as a meeting place to promote social sustainability.   The schoolyard has been an important part of the project. The school consists of three types of schoolyards. The first is peaceful for relaxed activities, the second is active for play and sports and the third is a more representative schoolyard. The peaceful yard is in the northern side of the building. All classrooms and workspaces face this yard. This is to utilize the northern light and provide a focused environment with a calm and peaceful view. The yard for play and sport consists of a hill and a sports hall that the school building embraces. The embrace of the hill creates an interesting and playful spatiality, while at the same time facilitating the soil tillage. Large height differences are minimized and shaft work can be saved. Furthermore, the active yard adjacent to the mountain, “Slättens gård” and the public park. In the long term, the idea is that “Slättens gård” could become part of the school with an activity such as 4H farm for the school and the public. This would also create a better connection between the schoolyard and the public park. The representative yard connects to the street Slättgårdsvägen and the avenue along the road. Also the residential area Gulddragaren is taken in account. This is shown in the built form from the entrance that is located so it ends up opposite to the entrance of the residential block. This representative yard is stone-paved, has a connection to the bus stop and becomes a place for more public meetings. Part of this yard is used as a delivery area. The part of the building that connects to the delivery area consists of functions that require heavy or frequent deliveries such as kitchen and craft.   Briefly the southern part of the building is 1-2 floors and consists of kitchen, dining room (double ceiling height) and crafts. The eastern part of the building is 3 floors and consists of the main space for the classes and consists of classrooms and group rooms.   The building's western part is 2-3 floors with pre-school at ground floor, staff and administration on floor 1 (the common room for the stuff has double ceiling height). Floor 3 has space for installations.   The centre of the building is a shared space, stairwell and "winter garden". This place has an environment that's between outdoor and indoor. All the more public and creative rooms have a connection out to this centre space. This allows for example the handicraft hall to spread and use the centre space. Also the dining room can spread out and take use of the winter garden. The music hall is located opposite to the dining room. When the dining room extends out to the winter garden a situation is created when those who sit and eat can enjoy those who perform and play music. Around noon the sun shines on those who play. The direct links between the centre space and the rooms for creative subjects create an opportunity for public use, even at night (this also applies to the sports hall). The centre space can be seen as "creative and poetic", with a tension to the sports hall which is more "physical".   The movement from the city to the main rooms for the classes varies between concave and convex and include views to outdoor greenery as well as greenery of the winter garden. For the design, the idea is to gradually move from a more public and extroverted space to a more focused and introverted space. The domicile's first part includes cloakroom and a shared space, suitable for group work and more social activities. In the middle section one can sit in small groups and have other types of conversation and work. In the third part there are group rooms and classrooms with windows facing the calm and peaceful courtyard. Here, focused work can be performed. In the domicile there is also a room for 2-3 persons added (this after conversations with people with epilepsy, ADHD and social phobia). This room provides space for rest and recovery in a school environment that today often is very extrovertly designed. The room is in close proximity to the staff's office. The group rooms are placed between the classrooms for an optimized opportunity for use. When the group rooms are not used, sliding doors can be opened and the room becomes part of the shared space and creates a light inlet that let natural light to go through the entire width of the building.   The gap between the radius of the centre space and the radius of the facade create spaces in different sizes. This places gets a very special space with an outdoor environment on one side and the winter garden on the other side. These rooms work as wind catch on the ground floor and library and art room on floor 1 and 2. The smaller of this type of space (above representative entrance) work as reading room and exhibition space. Here can drawings etc. be presented to the city.   The glass roof has a "light" character and rests upon the building. The attachment point is offset a bit from the edge of the roof to give a feeling that the glass roof continues beyond the edge. It gets a character similar to the windows by Lewerentz that are "pasted" on the outside of the opening.   Constructively, the building's western and eastern part has two lines that are load-bearing and the southern part one line in the middle that is load-bearing. The weight of the roof is led to the points where two load-bearing walls meet.

I en storstad som växer och mullrar fram finns minnet kvar av en annan stad. En kåkstad med fattigbarn och svält men också med gemenskap och variation. En ny stad byggs som ska rensa upp men en bit av den gamla sparas, högst upp på höjden. Innuti den lilla staden som ligger i den stora staden finns en liten värld. Det är barnens värld. Där byggs barnens stad. Men det här är ingen nostalgisk sökan utan ett försök till att binda samman det gamla och det nya och skapa något som utgår ifrån beställarens behov. 3 olika åldersrupper med 3 olika behov. 1 - 2 år, 3 - 4 år,5 - 6 år. De får 3 olika hus och 3 olika gårdar som speglar barnens utvecklingsfas. De skapas även med tanken att man ska känna av utvecklingens resa och samtidigt skapa möjlighet till möten men även till avskildhet. Alla 3 hus fokuserar på det direkta mötet till gården föratt möjliggöra för leken att direkt kunna flytta ut. Alla husdelas in i en aktiv del som har direkt koppling till gården och en inre, lugnare del. I växthusen kan barnen lära sig om kretslopp och ekologi. De semitempererade växthusen kopplar samman de tre husen så att barnen kan röra sig mellan husen utan att behöva klä på sig. Sommartid så är det norra huset en tillåten skozon så att barnen lätt kan springa både ut och in utan att känna sig hindrade. Den inre gården kopplar till alla tre hus och är vart alla barnen samlas tillsammans. I mitten står ett träd likt ett vårdträd som ger skugga. Gården står i direkt anslutning tillmatsalen och på sommaren kan borden fl ytta ut på altanenoch gården. Det här är framförallt 5 - 6 åringarnas gård.Den soliga södra gården är till för mer vild lek och här har barnen gott om plats för att springa fritt. När barnen delas upp är det här framfrallt 3 - 4 åringarnas gård. Den västra gården är gräsbeklädd och lummig. Den är framförallt 1 - 2 åringarnas gård och här sker mer lugn lek. Det är centralt att barnen har frihet att välja vilken aktivitetde vill utöva för att själva styra sin utveckling. Pedagogerna ska hjälpa barnen att lära sig själva. Av denna anledning finns allt material inom synligt räckhåll för barnen. Barnen har bestämda scheman men får själva välja vad de vill göra under de fria passen. Barnen kan välja mellan: Dans &Drama, Bygg & Konstruktion, Natur och Matematik samt Naturvetenskap och Litteratur. Mellan 1 - 2 år är allting nytt. Barnet är nyfiken och utforskar sin omvärld. Hon kryper, går, smakar, känner och kan uppfatta mönster och färger. Det är ofta en harmonisk ålder och barnet beskrivs som soligt och glatt. Med anledning av alla de nya intrycken är det viktigt att barnet inte tvingas ta in för mycket intryck. Därför har 1 - 2 åringarnas hus utformats som ett atriumhus där det öppnar upp sig mot den inre gården men är mer slutet mot omgivningen. Åren mellan 3 - 4 år beskrivs ofta som en frontalkrock. Barnet kan lätt brusa upp och vill visa att den kan görasaker själv. I denna ålder lär sig barnen att gå balansgång,klättra, hoppa högt, klä på sig själv och ta egna initiativ. För att uppmuntra detta har 3 - 4 åringarnas husutformats likt en klätterborg. Där halva huset har fulltakhöjd med en klättervägg och en verkstad som är i direkt koppling till gården och där andra halvan av huset utgörsav halvplan där barnen kan dra sig undan eller umgås imindre grupper. Åren 5 - 6 beskrivs som en viloperiod. Barnet är ofta sammarbetsvilligt och vill hjälpa till med hushållssysslorna. För 5 - 6 åringen är vännerna och det sociala umgänget det centrala. Hon börjar också inse att hennes omgivning är delav en större värld och barnet börjar se fram emot skolperiodenoch vuxenlivet. Utifrån detta är 5 - 6 åringarnas hus idirekt koppling till matsalen och det gemensamma rörelserummet. I det stora rörelserummet kan hela förskolan ha gemensamma aktiviteter som dans, sång, luciafirande,vernissage m.m. På övervåningen riktas siktvyerna ut motvärlden. 5 - 6 åringen leker framförallt utomhus. För att förskolan ska fungera som enande faktor i samhälletär den norra husdelen (5 - 6 år) uthyrbar på kvällarnatill exempelvis ABF-kurser eller födelsedagsfester. Delvisför att försöka hitta tillbaks till den gemenskap som fannsi området tidigare samt för att koppla samman området Vasalund och Hagalund som nu skiljs åt av Frösundaledenmen även ur et socioekonomiskt perspektiv. Huset är något tillbakadraget från gatan och har en altan för att öppnaupp och vara inbjudande. Huset som tidigare stod påplatsen var Stockholms första ABF-hus och skulle på detsättet delvis kunna återfå sin uppgift i samhället.
In a city that is growing and rumbles forward, there remains the memory of another city. A shantytown with poor children and starvation but also with a strong community and variety. A new city is built to clean up, demolish, but a bit of the old is saved at the top of the hill. Inside the small town, locatedin the big city, is a small world. It is the children’s world. There I build the children’s city. But this is not a nostalgic reminisce of the past but an attempt to tie together the old and the new and create something that is based on the client’s needs. 3 different ages with 3 different needs. 1 to 2 years, 3 to 4 years, 5 to 6 years. They get three different houses and three different playgrounds that reflect the children’s development. They are also created with the idea that the children can see their journey of development and that it also creates the opportunity for meetings but also for privacy. All 3 houses focuses on the direct meeting with the playground to allow the games to easily move outside. All houses are divided into an active part directly linked to the playground and an interior, quieter part. In the greenhouses, children can learn about recycling and ecology. The semi-temperated greenhouses connects the three houses so that children can move between houses without having to get dressed. In the summer time the northern house is a permitted shoe zone so that children can easily run both in and out without feeling inhibited. The inner courtyard connects to all three houses and is where all the kids gather together. In the middle stands a tree that provides shade. In summer the tables move out onto the patio and yard. This is particularly the playground of the 5 to 6 year-olds. The sunny and southern playground is for more active games and here the children have plenty of room to runfree. When the children are divided this is mainly the playgroundof the 3 to 4 year-olds. The west yard is grassy and calm. It is above all the courtyard of the 1 to 2 year-olds. It is crucial that children have the freedom to choose which activity they wish to pursue in order to control their own development. The teachers should help the children to learn forthemselves. For this reason all the material is visible and in reach of the children. The children have schedules but are free to choose what they want to do during the different periods.They can choose from: Dance & Drama, Building & Construction,Nature and Mathematics and Natural Science and Literature. Between 1 to 2 years, everything is new. The child is curious and explore its environment. She crawls, walks, tastes, feel,and perceive patterns and colors. It is often a harmonious age and the child is described as sunny and cheerful. Because of all the new impressions, it is important that the child does not have to take in too much. Therefore, the 1-2 year-olds house is designed as an atrium where it opens up on to the inner courtyard and is more closed to the surroundings. The years from 3 to 4 are often described as a frontal collision. The child can easily fly off and wants to show that it can do things for itself. At this age, children learn towalk the tightrope, climb, jump high, get dressed, and take initiative. To encourage this, the 3 to 4 years-olds house is designed like a climbing frame. Where half of the househas full ceiling height with a climbing wall and a workshopthat is directly linked to the courtyard and where the otherhalf of the house consists of half-planes where the children can withdraw or spend time in smaller groups. Years 5 to 6 are described as a resting period. The child is often cooperative and wants to help with household chores.For the 5 to 6 year-old friends and social relations arecentral. She/he also begins to realize that her/his environmentis part of a larger world and the child begins to look forward to school and adulthood. Because of this the 5 to 6 year-olds hous is in direct connection to the dining room and the big activity room. Here the entire pre-school is able to have common activities such as dancing, singing, Luciacelebration, vernissage etc. Upstairs the views are directedstraigt out on to the world. The 5 to 6 year-olds play mainlyoutdoors. The preschool will also serve as an unifying factor in society. Therefor the lower floor of the the northern house (5-6years) is rentable in the evenings, for example for ABFcourses or birthday parties. Partly to try to fi nd back to thecommunity that existed in the area before, and to connectthe areas Vasalund and Hahagalund that now are separated by Frösundaleden but also in a socio-economic perspective.The house is some what drawn back from the street and has a patio with the motive to make it feel open and inviting.The house that previously stood on the site was Stockholm’s first ABF-house and would in that way partially be able teo regain its rile in society.

The overall aim of the thesis is to discuss cultural significations and notions of colour in Swedish post-war architecture. More specifically, the purpose is to analyse the question of colour in architecture linked to the polychrome walls of Årsta Community Centre, including background, intentions, cultural context and debate. Årsta Community Centre, situated just south of Stockholm, was built in 1947-53. The buildings as well as the colourful paintings covering the walls facing the square were designed by architects and brothers Erik and Tore Ahlsén. Newspapers and journals showed a clear indignation concerning the colourful exterior walls. Why did the polychrome walls at Årsta raise so much attention and cause such criticism? And how are these reactions related to contemporary ideas of colour in architecture in general? The thesis is divided into six chapters. The introductory chapter is followed by a historical retrospect with examples of use and notions of colour in architecture, in order to present a prelude to post-war thoughts and design. This text leads up to two central concepts developed for this thesis: Structural and independent colour effect. The third chapter presents Årsta Community Centre with focus on the polychrome walls at Årsta square, analysing the role of the architects and the cultural and social environment in which they were interacting. Special attention is paid to the important inspiration provided by the thoughts of the Danish artist and writer Asger Jorn. The forth chapter deals with the critique of Årsta square as well as arguments in contemporary debates concerning colour in architecture (as for example in the Apollo and Dionysus-debate). Chapter five discusses the role of independent colour effect in art and architecture of the 1940´s and 50´s related to examples of contemporary ideas and use of history. The conclusions of the study are presented in the sixth chapter. It contains an interpretation of the polychrome space, mainly focusing on two themes: The first is the understanding of the square as a theatre, based on historical social and urban patterns. The second is the suggestion of a modernistic language of colour and architecture for common man that is universal and time-less, challenging established social and material hierarchies. The thesis finishes with an analysis and a summary point by point of the critique directed at the colours of Årsta Community Centre with main emphasis on the underlaying political motives.

QC 20101112

A short film about how to design informality in the city. By comparing the chaotic Lagos with the orderly Stockholm the film rethinks the role of the designer and shows that planning as a sphere of building consistently destroys lived space. It illuminates the tension between the orderly and the chaotic, the ideal and reality.

ABSTRACT In 2014, Sweden became the world's first self-defined feminist nation and a place where gender equality has a strong ideal within the country's national identity. However, the issue of gender equity remains unaddressed in some area across Sweden. Sätra district in Stockholm located between Bredäng and Skärholmen is one of those examples that women usually suffer from inequality. By considering social equality as a fundamental principle of good urbanism, the need for feminist urbanism feels necessary in this context today. Through the lens of feminist urban planning, mainly focused on women in Sätra and tried to reflect women's voices in every urbanization policies. The study is going to examine the role of gender in public space, its socio-spatial implications and create feminist participatory strategies to empower women. In this research, Mothers considered the effective groups of women as their educational role in their family and their central role in the community awareness raising is undeniable. In this way, strengthening mothers role in urban settings can have a powerful multiplier effect on urban development. So that's what has been considered in the whole process of decision-making. This would make an inclusive and women-friendly public space for girls and women where is safe and secure and responsive to the needs of all kinds of people. So that's what has been considered in the whole process of decision-making. This would make an inclusive and women-friendly public space for girls and women where is safe and secure and responsive to the needs of all kinds of people. So that's what has been considered in the whole process of decision-making. This would make an inclusive and women-friendly public space for girls and women where is safe and secure and responsive to the needs of all kinds of people.

Chapter 2 considers the introduction of modernist aesthetics in Sweden in the early 1930s in the image communities of marketing and visual art. The main focus is the Stockholm Exhibition held in 1930 in which marketing and advertising played an integral part in the presentation of modern architecture, design and visual art. The exhibition area hosted the first large presentation of modernist visual art in Sweden and was simultanoeusly a decisive event for the introduction of modernist window displays. From the late 1920s and onwards window displays were clearly being influenced by avant-garde modernist art such as cubism, futurism and constructivism. This is evident in the designs themselves but it was also spelled out in professional journals and handbooks. In the commercial context pure marketing rationales and arguments were linked to the modernist aesthetic.The modernist design in window displays was not unique to Sweden around 1930. However, this is an instructive case as the reception of modernist images differed widely between the two image communities. Within marketing aesthetics the Stockholm exhibition marks the breakthrough for modernism. But simultaneously, the art field was very resistant to modernist aesthetics and the Art Concret exhibition proved to be a complete fiasco.

Abstract: Le Corbusier’s architectural production throughout the twentieth century served as a reference for subsequent developments in architecture and urban planning in Sweden. Some of the buildings and urban plans subsequently developed in Sweden and influenced by Le Corbusier’s ideas and projects also impacted on the international architectural scene. This research analyses how the study of Le Corbusier’s works affected projects in Sweden from the 1920s to the 1970s and how they also became an international standard. Le Corbusier’s works provided a kind of prototype, with which Swedish architects experimented in alternative ways. During the 1920s, Le Corbusier’s Pavilion de l’Esprit Nouveau and the Stuttgart Weissenhofsiedlung impressed influential Swedish architect, including Uno Åhrén, Gunnar Asplund and Sven Markelius, who later became proponents of modernism in Sweden. The 1930 Stockholm Exhibition marked a breakthrough for functionalism in Sweden. After 1930, urban plans for Stockholm and its suburbs reflected some of Le Corbusier’s ideas, such as the urban plan by Sven Markelius, and Vällingby’s town centre by Leif Reinius and Sven Backström. After 1950, Léonie Geisendorf , Ralph Erskine, Sigurd Lewerentz and Peter Celsing placed considerable emphasis on rough texture in poured concrete. Lewerentz, who admired the works of Le Corbusier, designed the churches of Markuskyrkan in 1956 and St Peter’s in Klippan in 1966, with a wider international impact. Reyner Banham included several works by Le Corbusier and also Markuskyrkan Church by Lewerentz in his book The New Brutalism: Ethic or Aesthetic? in 1966. Keywords: Sweden, twentieth-century architecture, urban planning, prototype, architectural experiment, functionalism. DOI: http://dx.doi.org/10.4995/LC2015.2015.893